This is what i would call them...------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3----2---------------------------------------------------------0----0----4----3---------------------------------------------------------1----1------------------------------------------- the main chords i think are a A and an Fthe first and third chords sound like passing tones to me and shouldnt be critically analized as chords on their own.... if i had to i'd call the first one C the second A the third i'd call C# and the last Fbut regardless it doesnt really matter what you call them right now, theres many different ways- if it sounds good i'd go with it- however i've never heard it and i know there are much stronger progressions than the third chord you chose

i'd suggest going to a community college and taking begining and then regular university theory classes, it will help...theres so much i can explain on this its rediculous- although it seams simple.

i dont know... is there more of a specific question you had or reason you wanted to know?just to know what scales to play to solo/write over it?

At 32 years old i dont really have time for college lolll.But you did answer my question.As to wich scale to play over it, that i can managewith parent scales and modes.I do know a little bit of theory but i do have to get deeper into it.But for some reason i was having a hard time with this sort of progression.

no5 or no3 mean that the chords are missing the 5th or 3rd note. A two- notes chord consisting of the root note and the 5th is called power chords(or fifth chord) and since they don't have the 3rd note, they are neither major or minor.

------------------------------------------------3--------------0--------------------------F. even though it's missing the fifth note, the major third note A is there. I don't think you wanted to play A aug(A C# F)

----------------------------------------------------------------4--------------1----------could be an F augmented, but looking at the chord progression I don't think so. C# with no fifth is more like it but even that's not a very good fit here.

----------------------------------------------------------------3--------------1----------that's F5 (F and C). not F or F minor.

As for the scale, you don't have any particular chord that determines the key. Why don't you try both F major scale and Am scale and see which one you like best. This could be I - iii progression in F or i - VI progression in Am. Don't worry too much about those augmented chord. It's not correct anyway. Just regard them as Am and F with a couple tension notes. Like the opening riffs from secret place by megadeth.

its a bad habit to use the word CHORD for all of above-it could be analyzed with chords but you need to have more like lets say a melody over it or another instrument and from there can fill in what it represents chord wise

you're not providing any context... with only two notes per chord you are just implying harmony, which gives you many choices. On top of that, you haven't stated any rhythmic pattern or said if all these chords last the same amount of beats (or bars), or what the bass player is doing... According to what you accent, your choices might change...

If the bass player hits A for the first two chords, and F for the next two, you could say you're just playing power chords with added minor sixths for color. This is easier to visualize if you play all chords in the same string set (A and low E strings), like this:

So, you'd have A5 and A with an added minor sixth, and then the same thing on F. This means that whatever you decide to play over the first two chords, you can just transpose four frets down to F and play the same idea.

Because they're power chords, there's no third involved. So you could play either major or minor scales no problem... Now, which scales? With this frame in mind I'll start looking at scales that have both a perfect fifth and a minor sixth. Since I established you could play the same idea down four frets, I'll only use the first power chord to reference this...

For minor scales, there's A phrygian (A-Bb-C-D-E-F-G) and A natural minor (A-B-C-D-E-F)For major, I'd use a A mixolydian flat 6 (A-B-C#-D-E-F-G) or A phrygian dominant (A-Bb-C#-D-E-F-G). These are just modes of the melodic and harmonic minor scales, respectively...

If you asked me, I'd pick either one of the last two, because they both have a C# and that's one of the notes you'd need to play over the next set of chords (F and F+ no 3rd) and when you repeat the idea over them, and you will also have the "A" present, which will connect the idea back to the first set of chords.

On the next case, if your bass player hits the notes on the A string as the bass line, you have this:

So the line spells: F-E;Db-C. If you assume the accent is set on the first and the third chords, you can say you're just playing F major for the first two chords, and Db flat major for the next two. Now, for each set of chords you have three sounds (F, A, E for the first one; Db, F, C for the next two)... In both cases, and assuming the bass line is accenting what I just said, you have a scale that has a major third (F to A, Db to F) and a major seventh (F to E, Db to C)... With this criteria, only major scales with major sevenths are available. So you could play Ionian or Lydian. Just make sure you don't play the root when the bass hits the second and fourth chords, because they will clash...

Or if you want to keep it really simple, just play D minor (F major) for the first two chords and D harmonic minor for the next two...